buy a shockmount and get a free microphone

[xy]

i've seen these mxl mics in the musicians friend catalog. they look
the same size as a tlm-103. the mic comes with the shockmount for
about $59 or $69.

any chance that shockmount fits a neumann tlm-103?

[John L Rice]

"xy" > wrote in message
om...
> i've seen these mxl mics in the musicians friend catalog. they look
> the same size as a tlm-103. the mic comes with the shockmount for
> about $59 or $69.
>
> any chance that shockmount fits a neumann tlm-103?

Yeah, I think. There has been discussion about that here in the past. If I
remember, they work but are a little tight? Do a Google search to confirm
it.

Best of luck!

John L Rice

[David Satz]

xy wrote:

> i've seen these mxl mics in the musicians friend catalog. they look
> the same size as a tlm-103. the mic comes with the shockmount for
> about $59 or $69.

> any chance that shockmount fits a neumann tlm-103?

whereupon John L Rice wrote:

> Yeah, I think. There has been discussion about that here in the past.
> If I remember, they work but are a little tight? Do a Google search to
> confirm it.

If this is the shock mount that's sold for "U 87-style" microphones, I'd
avoid it. I bought a pair of those, thinking that even a poor shock mount
would be better than no shock mount at all--but these were so badly made
that they managed to disprove that idea.

The release mechanism (basically a "butterfly clip" like you'd find in an
office supply store) rubbed up against the elastics, so that any motion
of the boom arm sent vibrations from this friction right into the mike.

Also, the elastics were stretched almost to their limit so the resonant
frequency of the whole assembly was way too high to do its basic job as
an isolation mount.

Sorry, but in this case you don't even get what you pay for.

[Steve King]

"xy" > wrote in message
om...
> thanks for the 411.
>
> so is there a low-cost alternative to the $175 or so neumann wants for
> their tlm-103 shockmount? it seems crazy to spend so much on such a
> silly little thing!
>
> another related question...do you really need a shockmount if you're
> only recording low volume things like vocals and acoustic guitar?
>
> i'm guessing you need the shockmount only when you're combatting
> vibrations from a loud drum kit or some other loud boomy source. how
> much vibration would travel up the mic stand from a tambourine
> overdub?

Depends on who is playing the tambourine and how hard their toe taps keeping
time.

Steve King

[David Morgan \(MAMS\)]

"Steve King" > wrote in message et...
> "xy" > wrote in message
> om...
> > thanks for the 411.
> >
> > so is there a low-cost alternative to the $175 or so neumann wants for
> > their tlm-103 shockmount? it seems crazy to spend so much on such a
> > silly little thing!
> >
> > another related question...do you really need a shockmount if you're
> > only recording low volume things like vocals and acoustic guitar?
> >
> > i'm guessing you need the shockmount only when you're combatting
> > vibrations from a loud drum kit or some other loud boomy source. how
> > much vibration would travel up the mic stand from a tambourine
> > overdub?
>
> Depends on who is playing the tambourine and how hard their toe taps keeping
> time.
>
> Steve King
>
>

....Or how heavy the trucks are that pass by the studio.

DM

[LeBaron & Alrich]

xy wrote:

> thanks for the 411.
>
> so is there a low-cost alternative to the $175 or so neumann wants for
> their tlm-103 shockmount? it seems crazy to spend so much on such a
> silly little thing!
>
> another related question...do you really need a shockmount if you're
> only recording low volume things like vocals and acoustic guitar?
>
> i'm guessing you need the shockmount only when you're combatting
> vibrations from a loud drum kit or some other loud boomy source. how
> much vibration would travel up the mic stand from a tambourine
> overdub?

Depends a lot on your recording environment's isolation from external
noises. Are trucks passing by on a nearby street, or trains, subways,
etc.? When you try to eliminate the resulting rumble using a hi-pass
filter, seemingly easy with something like a tambourine, you're still
left with what that runble imposed on the higher portions of the
spectrum.

--
ha

[Scott Dorsey]

xy > wrote:
>
>so is there a low-cost alternative to the $175 or so neumann wants for
>their tlm-103 shockmount? it seems crazy to spend so much on such a
>silly little thing!

Probably you could make a Sabra-Som or something fit.

>another related question...do you really need a shockmount if you're
>only recording low volume things like vocals and acoustic guitar?

If the guitarist taps his feet, definitely.

>i'm guessing you need the shockmount only when you're combatting
>vibrations from a loud drum kit or some other loud boomy source. how
>much vibration would travel up the mic stand from a tambourine
>overdub?

Not much, but an awful lot can travel up from the air conditioner in the
basement.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Wayne]

>>another related question...do you really need a shockmount if you're
>>only recording low volume things like vocals and acoustic guitar?
>

More so really. It's not about how loud the source is, but more about the
sensitivity of the mic and how much gain do you need to amplify the incoming
signal. Everything coming in gets the same treatment.

--Wayne

"sounded good to me"

[xy]

so does anybody know of a shockmount from another company that happens
to fit the tlm-103?

it just seems crazy to spend $149 on something that should cost $75 or
less.

[Ricky W. Hunt]

"Scott Dorsey" > wrote in message
...
> xy > wrote:
> >
> >so is there a low-cost alternative to the $175 or so neumann wants for
> >their tlm-103 shockmount? it seems crazy to spend so much on such a
> >silly little thing!
>
> Probably you could make a Sabra-Som or something fit.
>
> >another related question...do you really need a shockmount if you're
> >only recording low volume things like vocals and acoustic guitar?
>
> If the guitarist taps his feet, definitely.
>
> >i'm guessing you need the shockmount only when you're combatting
> >vibrations from a loud drum kit or some other loud boomy source. how
> >much vibration would travel up the mic stand from a tambourine
> >overdub?
>
> Not much, but an awful lot can travel up from the air conditioner in the
> basement.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

Does the piece of furniture foam (that Fletcher mentioned) truly work as
well as those expensive shockmounts? I read all about these resonances and
having to use multiple materials (with different resonances) in a good
shockmount. Does this block of foam work just as well? I understand a studio
not wanting to use a block of foam as it takes up space plus I'm pretty sure
the mic stand could be knocked over pretty easily but for my home studio one
foam block would be much cheaper than buying all these specific shock
mounts. If the block of foam does work just as well what are the "minimums"
for it to work? (size/height/density/etc.)

[Willie K.Yee, M.D.]

>> so is there a low-cost alternative to the $175 or so neumann wants for
>> their tlm-103 shockmount? it seems crazy to spend so much on such a
>> silly little thing!
>
>I think it might be shockmounts.com or something, but there's a company
>that sells these cheap universal shockmounts.

Its www.shockmount.com

I have a couple of these, and they are great.

My only problem with them is that since they are solid, rather than
open like a spider shockmount, theoretically, at least, the body of
the shockmount could cause comb filtering or other artifacts. On an
RE-20, the PVC tube is surrounding, but not touching, the vents on the
side of the mic. In practice, I don't notice anything, but then I have
****-for-ears and not much experience.

Willie K. Yee, M.D. http://www.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org

[Scott Dorsey]

Ricky W. Hunt > wrote:
>
>Does the piece of furniture foam (that Fletcher mentioned) truly work as
>well as those expensive shockmounts? I read all about these resonances and
>having to use multiple materials (with different resonances) in a good
>shockmount. Does this block of foam work just as well? I understand a studio
>not wanting to use a block of foam as it takes up space plus I'm pretty sure
>the mic stand could be knocked over pretty easily but for my home studio one
>foam block would be much cheaper than buying all these specific shock
>mounts. If the block of foam does work just as well what are the "minimums"
>for it to work? (size/height/density/etc.)

The block of foam is a good idea, and I often will use it in addition to
the shockmount. The bigger it is, the lower the turnover frequency is.

These shockmounts aren't very expensive when you consider what they do
for your sound, and when you consider something like the Sabra-Som will
handle anything from a KM84 on up to a TLM103 in a pinch.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Ricky W. Hunt]

"Scott Dorsey" > wrote in message
...
> Ricky W. Hunt > wrote:
> These shockmounts aren't very expensive when you consider what they do
> for your sound, and when you consider something like the Sabra-Som will
> handle anything from a KM84 on up to a TLM103 in a pinch.
> --scott

I looked at the page and they looked good but I had to laugh when I saw it
used with the Behringer ECM8000. This could be the first time the shockmount
actually costs more than the mic.

[mr c deckard]

i also saw a mic stand that had a suspension system in the base at a
pro (ie not GC) music store recently. K&M was the manufacturer, i
believe, and it looked to be high quality/effective. try their
website or a google search.

best,
chris deckard
saint louis moe


> Does the piece of furniture foam (that Fletcher mentioned) truly work as
> well as those expensive shockmounts? I read all about these resonances and
> having to use multiple materials (with different resonances) in a good
> shockmount. Does this block of foam work just as well? I understand a studio
> not wanting to use a block of foam as it takes up space plus I'm pretty sure
> the mic stand could be knocked over pretty easily but for my home studio one
> foam block would be much cheaper than buying all these specific shock
> mounts. If the block of foam does work just as well what are the "minimums"
> for it to work? (size/height/density/etc.)

[xy]

thanks for the link. i went and checked it out. looks like waaaaaaay
too much surface area going on for me to be comfortable with.

i think the tlm-103 is one of the best mic values on the planet. but
it seems so much to spend for the shockmount. i mean it's "perfect"
but how much build cost could go into some stretched cords and a few
metal pieces?

with so many tlm-103's that get sold, and the shockmount costing $149
extra, i'm not sure why the chinese companies couldn't come up with an
acceptable shockmount knockoff. the neumann website says the
shockmount fits the tlm-193, m 147 and a few others. this means even
more of a market for a good shockmount knockoff.

am i missing something here?



>
> Willie K. Yee, M.D. http://www.bestweb.net/~wkyee
> Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
> Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org

[Willie K.Yee, M.D.]

On 18 Sep 2003 18:05:54 -0700, (xy)
wrote:

>extra, i'm not sure why the chinese companies couldn't come up with an
>acceptable shockmount knockoff.

I think the Sabra makes a cheap shockmount, I think you can get it at
the Sound Room. I don't know about the quality of materials or
construction.

Willie K. Yee, M.D. http://www.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org

[Dave Martin]

"Willie K.Yee, M.D." > wrote in message
...

> I think the Sabra makes a cheap shockmount, I think you can get it at
> the Sound Room. I don't know about the quality of materials or
> construction.
>
My Sabra shock mount works OK, but I've busted part of it. I don't know if
that says something about the materials or about my handling of it...

--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com

[Ricky W. Hunt]

"Dave Martin" > wrote in message
...
> "Willie K.Yee, M.D." > wrote in message
> ...
>
> > I think the Sabra makes a cheap shockmount, I think you can get it at
> > the Sound Room. I don't know about the quality of materials or
> > construction.
> >
> My Sabra shock mount works OK, but I've busted part of it. I don't know if
> that says something about the materials or about my handling of it...

Is that "OK" meaning it works well or just barely works? I'm wanting to
order one of they work.

[Bob Cain]

Dave Martin wrote:
>
> "Willie K.Yee, M.D." > wrote in message
> ...
>
> > I think the Sabra makes a cheap shockmount, I think you can get it at
> > the Sound Room. I don't know about the quality of materials or
> > construction.
> >
> My Sabra shock mount works OK, but I've busted part of it. I don't know if
> that says something about the materials or about my handling of it...

Me too. It may not look it, but it's plastic and it's
fairly easy to create a lot of stress at a point where it is
not strongly reinforced.


Bob
--

"Things should be described as simply as possible, but no
simpler."

A. Einstein

[Hal Laurent]

"Dave Martin" > wrote in message
...

> My Sabra shock mount works OK, but I've busted part of it. I don't know if
> that says something about the materials or about my handling of it...

I haven't broken either of my two Sabra shock mounts, but I'm not nearly
as impressed by them as the Sound Room copywriters seem to be.

I find them tricky to use for large mics in vertical orientations (you
have to position the elastics carefully to support the weight), and for
small pencil-shaped mics there are other shock mounts that are much
easier to use (like the AT8410a, which is usually my first call shock
mount for a small diaphragm condenser).

Nonetheless, the Sabra is useful to have around as a last-chance option
for large mics.

Hal Laurent
Baltimore

[Kurt Albershardt]

Hal Laurent wrote:
> for
> small pencil-shaped mics there are other shock mounts that are much
> easier to use (like the AT8410a, which is usually my first call shock
> mount for a small diaphragm condenser).

I'm partial to the AT8415 myself. Holds an amazing variety of mics up
to and including a 421, weighs almost nothing and is rather hard to break.

[Hal Laurent]

"Kurt Albershardt" > wrote in message
...
> Hal Laurent wrote:
> > for
> > small pencil-shaped mics there are other shock mounts that are much
> > easier to use (like the AT8410a, which is usually my first call shock
> > mount for a small diaphragm condenser).
>
> I'm partial to the AT8415 myself. Holds an amazing variety of mics up
> to and including a 421, weighs almost nothing and is rather hard to break.

What I really like about the AT8410a, though, is the slot in the top that
allows you to insert or remove the mic with the cable attached. That said,
you can't fit a 421 in one. :-)

Hal Laurent
Baltimore

[Sugarite]

> Hal Laurent wrote:
> > for
> > small pencil-shaped mics there are other shock mounts that are much
> > easier to use (like the AT8410a, which is usually my first call shock
> > mount for a small diaphragm condenser).
>
> I'm partial to the AT8415 myself. Holds an amazing variety of mics up
> to and including a 421, weighs almost nothing and is rather hard to break.

I wasn't keen on the amount of grip the AT8415 had on my NT4 when holding it
vertically as overheads. I've taken the idea and made a similar shockmount
out of some slightly wider-diameter PVC pipe, elastic bands cut from a
bicycle inner tube (tough stuff), and I took a broken mic clip ("This SM58
isn't in far enough... oops!") and substituted a bent sheet metal piece
riveted to the pipe to connect to the threaded pivot piece from the clip. I
used six bands at 60 degrees to each other rather than only four at 90 with
the AT8415 with a bit of rosin applied for extra grip. In retrospect the
rosin probably would have given the AT8415 the grip it needed, but I also do
a lot of location recording with the NT4 and want all the grip I can get.
Once I get it looking good maybe I'll post pics. If you had to buy all the
materials, it would cost about $10, but I imagine most people have or can
find broken mic clips and leaky inner tubes for free.

[Hal Laurent]

"Sugarite" > wrote in message
...

> I wasn't keen on the amount of grip the AT8415 had on my NT4 when holding
it
> vertically as overheads.

The AT8410a has a much tighter grip on the mike. It weighs a little more
than
the AT8415, though, and has a larger profile.

Hal Laurent
Baltimore